كليدواژه :
پيت مو ند ريان , اصول نئوپلاستيسيزم , نقاشي نئوپلاستيك , نقاشي انتزاعي ناب , عناصر نقاشي
چكيده فارسي :
علي رغم نقش كليد ي پيت موند ريان (1872-1944) د ر تحقق كامل اهد اف نقاشي انتزاعي، د ر تحقيقات گذشته كم تر به اصول مطرح شد ه نقاشي نئوپلاستيك اشاره شد ه است. به منظور رفع اين خلأ، مقالۀ حاضر بر آن است تا يافته هاي تحقيقي جامع بر تحولات نظري موند ريان نسبت به عناصر نقاشي نئوپلاستيك د ر بازۀ زماني 1927 تا 1944 ارائه كند . اين مقاله د ر پي بررسي د رستي اين فرضيه است كه تحليل تطبيقي نقاشي ها و نوشته هاي موند ريان به موازات هم مخاطب را به د رك بهتري نسبت به چرايي تحولات بصري د ر ظاهر نقاشي هاي نئوپلاستيك مي رساند . به منظور اعتبارسنجي فرضيه مذكور، از يك سو نقاشي هاي نئوپلاستيك د ر د وره هاي مختلف بر پايه رويكرد ي فرماليستي مورد تحليل بصري قرار گرفته، و از سوي د يگر نوشته هاي نظري موند ريان براساس روش بينامتني مورد واكاوي قرار گرفته تا تغييرات د يد گاه هاي نظري او نسبت به خصوصيات و نقش عناصر نقاشي نئوپلاستيك د ر د وره هاي مختلف تبيين و مشخص گرد ند . نتايج اين بررسي ها نشان مي د هد ، د يد گاه هاي موند ريان د ر د وره مياني (1927-1931) و بالأخص د وره متأخر (1932-1944) كه تغييرات قابل توجهي د ر ظاهر نقاشي هاي نئوپلاستيك او ايجاد شد ه، نسبت به نظرات او پيش از 1926، به ويژه نسبت به اصل اول نئوپلاستيسيزم، د ستخوش تغييرات زياد ي شد ه است.
چكيده لاتين :
In spite of the proposal of various theoretical arguments
on philosophical, historical, social, and stylistic roots of the
formation of pure abstract paintings, their stark appearance
has been often a deterrent factor for beholders to be attracted
to this kind of art. One of the main examples of this problem
is pertinent to the visual analysis of Piet Mondrian’s (1872-
1944) Neo-Plastic compositions. Although, Mondrian’s
seminal role in the development and maturation of abstract
painting is evident in Modern art history, yet little is known
about the development of his artistic ideas on principles
of Neo-Plasticism he wrote in 1926. Mondrian in many
instances in his 1917-1944 theoretical writings explicates
about his Neo-Plastic principles which he considers them
as universal principles not only for a ‘new art’ - best
epitomized in his pure abstract style called Neo-Plasticismbut
also for well-being of mankind and construction of
a new life and a utopian society. Nevertheless, in the
previous publications, Mondrian’s Neo-Plastic paintings
and his theoretical writings have been analyzed apart
from each other, rather than to be examined in relation
to each other. Hitherto, Neo-Plastic paintings and its
pertinent theory have been either scrutinized in the light
of intricate philosophical, esoteric and artistic doctrines,
particularly Hegel’s thoughts, Theosophy, Cubism, and De
Stijl movement, or they are mostly examined based upon
a Greenbergian formalist standpoint in relation to criterion
of flatness of elements of painting on the canvas as well
as abstraction of representational elements. Nevertheless,
Neo-Plastic paintings have been rarely examined in regard
to the principles of Neo-Plasticism. As such, the goal of this
article is to assess the authenticity of this hypothesis that
looking at Mondrian’s Neo-Plastic paintings and writings
in parallel with each other, helps us to more clearly interpret
and discern the apparent changes in the appearance of Neo-
Plastic paintings in different periods of Neo-Plasticism.
Indeed, this article mainly aims to expound the rationales
behind the extant pictorial changes in appearance of the
late Neo-Plastic paintings, especially those paintings
created after 1932. To this end, development of Mondrian’s
theoretical ideas in respect to role and characteristics of
elements of his Neo-Plastic paintings (mainly line, color,
and plane), especially in relation to the content of the first
principle of Neo-Plasticism, are scrutinized in two periods
of Neo-Plasticism: 1- Middle Neo-Plastic period (1927-
1931) when we realize subtle changes in appearance of
lines that differentiate them from pre-1926 compositions;
2- Late Neo-Plastic period (1932 -1944) when we find
revolutionary alterations in appearance of Neo-Plastic
paintings such as pluralization of lines, using lines and
colors as free and self-reliant elements, and transformation
of the role of lines and colors. The results of this research
demonstrate that in the late Neo-Plastic period, Mondrian’s
theoretical viewpoints on elements of Neo-Plastic painting
have been noticeably altered in comparison to middle period
and particularly in respect to what he had theorized in his
first principle of Neo-Plasticism in 1926; and in some cases,
especially after 1938, they even violate the first principle of
Neo-Plasticism.
